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  Irene and the Buffalo Boys

  Matthew C. Best

  As a creative, music and visual art are constantly intertwining for me. Music is something that has consistently influenced my work, whether it be with evocative imagery, a certain subject, or a narrative. Additionally, themes such as nature, nostalgia, observations on life, and the human experience lay the foundational groundwork for the art I make. Hailing from my upbringing in rural Tennessee, I spent much of my childhood listening to the historic music of Dolly Parton, Porter Wagoner, Loretta Lynn, and Willie Nelson, among others, who’s music often touched upon these very themes. The vivid storytelling of country music; songs about rural life, love, loss, and a reverence for the land, are concepts that are all incredibly moving to me as an artist. Irene and the Buffalo Boys is a love letter to these many wells I draw influence from. This body of work centers around my own fictional, vintage-inspired, country-western swing band, with gig posters, merchandising, and various branded pieces serving as a thematic backbone for what this hypothetical honky tonk group could be. Though my band is purely fictional, my goal for the viewer is to be mentally wisped away to a lively dance hall, hearing the strum of a six string, the bluesy whine of a pedal steel, the echoes of boots on a dirty, hardwood floor, and seeing the glow of a plethora of neon signs above their head.

  Poster design is a fascinating relationship between imagery and typography. The puzzle-piecing game of visual hierarchy, usage of illustration, and the push and pull of information to create a functional piece of advertising is an exciting form of problem solving. In my poster for the band’s hypothetical Montana show, a whimsical, illustrated crescent moon follows the curve of the band’s logotype, leading the viewer’s eye through the entirety of the composition. I also wanted to incorporate a motif of natural imagery throughout many of my pieces, such as my Arizona poster, in which the composition is centered around a southwestern landscape, framed by a single saguaro cactus in front. Stippling is utilized as a form of mark making throughout the majority of my pieces, with multitudes of small, hand-placed dots adding value and texture to my illustrations, as well as creating a more vintage look.

  There are many influences that inspire me in my artistic processes, and I’m always finding more to be enamored with. The bold poster compositions of Nashville’s historic Hatch Show Print showcases vintage, hand-cut type and imagery, creating eye-catching designs for countless events and artists to this day, with many, like Johnny Cash’s and Patsy Cline’s, remaining iconic for decades. Designer and illustrator Taylor Rushing pulls inspiration from American folk and psychedelic art to create stylistic, hand drawn visuals for his musical clients, whether it be a poster advertising Willie Nelson’s 89th birthday party, or a lush, floral album cover for Sierra Ferrell. A strong sense of composition, imagery, and typography, as well as an appreciation for vintage reference, are all aspects I draw from these influences as I navigate my own unique work in the colorful and illustrative identity of Irene and the Buffalo Boys.

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  Lunch Break at BORE INK.

  Lee Bezehertny

  It's been my experience that when transitioning into adulthood, we are conditioned to desaturate ourselves to become more easily digestible for the sake of being taken seriously in corporate settings. My illustrative design work and printmaking in my BFA exhibition focus on the exploration of identity through maturity and how the societal expectations associated with age impact the ways we limit self expression and playfulness as we grow. The exhibition, titled "Lunch Break at BORE INK.," is set in the break room of my fictional office supply company, BORE INK.

  I utilize illustrative storytelling, dynamic typography, and the hand-printed production of my designs to create controlled imperfections. relatability, and community with the audience through texture, line, and color. Felicia Chiao, a graphic designer and illustrator, and painter Tyler Shelton have heavily influenced my use of texture and color in my illustrative design style. The hand layered building of color in my screen prints allows for greater visual and emotional depth to the viewer.

  A great example of my work that communicates how I utilize such elements is "I Can't Fucking Stand White Walls", a 30x22" screen print that depicts a white hallway with several versions of the same figure drawing in crayon on the walls and floor. The piece is composed of contrasting photographic and flat, illustrative components. The minimal, realistic walls and the loose, colorful, texture line visually communicates both my resistance to the seriousness of adulthood and the incongruence occuring between myself and the work environment I'm surrounded by.

  The vending machine of BORE INK.'s break room, branded for my secondary company, Gimme Goods, was inspired by the collaborative automated galleries orchestrated by Steph Krim of Good Things Vending in Chicago, Illinois. The Gimme Goods machine, in all of its silliness, exists to provide an interactive, immersive, and playful experience for gallery guests amidst the white, neutral gallery space the break room exists within.

  My BFA exhibition aims to provide an opportunity in a corporate space for others to express their inner whimsy, connect with each other, and embrace that everyone is living their lives for the first time, which allows us to find comfort in the experiences we share as we grow. In the break room I've create for you in "Lunch Break", you stick out like a sore thumb-

  but isn't there something beautiful about everyone feeling that way together?

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  Earthen Tea Company

  Dawn M. Critser

  To many, tea is more than just a drink; it is a meditative ritual. Earthen Tea Company honors this tradition while blending graphic design with the rhythm of ceramics. Through design and ceramics, the fictional company combines rhythm, form, and tradition through earthy tones and natural materials. The company balances digital and tactile art with traditional and modern aesthetics, inviting viewers to pause and find balance in the everyday.

  When creating ceramic forms, consideration is given to how the object will be held and used. Traditionally, chawans embrace Wabi-sabi aesthetics, while everyday tea bowls prioritize comfort and function. Carving organic forms onto thrown vessels allows for an exploration of elements that utilize texture and repetition. The tactile patterns were designed to be explored easily through touch. This process inspired a search for a connection between ceramics and digital design, and a rhythm formed between digital and analog workflows. The carved shapes were replicated digitally and incorporated into the company's logo and product design. The patterns and shapes utilize contrast, variations in line, and textures to create natural and organic designs. Through graphic design, organic motifs are combined with modern typography and Yixing clay color to form a natural yet modern aesthetic. The modern sans serif typography complements the treatment of line in the logos and patterns. Where tea bowls allow for physical interaction with the ritual of tea drinking, the design of Earthen Tea Company creates a calming atmosphere that connects the audience to nature through color and pattern.

  I draw inspiration from Farm Design’s typography and structured lines. I aim to replicate the same sense of familiarity through typography and design elements. Much like Butterfly Cannon, a London design firm, I infuse bursts of pattern into my designs while considering the environmental impact. Chinese Yixing potter Qu Yingshao influenced the designs through his carvings derived from his own paintings. I often use the object’s shape to guide the pattern, similar to Qu Yingshao’s decision to connect the teapot lid to the body through the carved pattern.

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  Route 404

  Sarina C. Hamilton

  Through graphic design and printmaking, I create work that unifies and connects people through shared experiences. I have developed a fascination with the universal experience of death and how it connects us all. While each of us experiences it differently, we all share in it-eventually, we all die. This realization has inspired me to express this commonality in my work.

  I wanted to challenge myself to create something more than just a brand or product; I aimed to convey a complex and layered idea-something greater than myself. I often reflect on the trivial aspects of my daily life, which leads me to question what truly matters. How much time do I spend scrolling through social media or working a 9-to-5 job? How often do I connect with others? It seems absurd that I invest so much time and energy in these superficial concerns instead of focusing on what truly matters.

  "A line that often resonates with me is, "There is no gift shop at the end.” This got me thinking: what is there we’re?”

  I am no philosopher, but I am human. I used my skills and experiences to create something that communicates these ideas to others, fostering connection and encouraging them to ask these questions. While my design work is primarily digital, I also employed screen printing techniques for certain aspects, such as the tote bags and apparel featured in the exhibition.

  Learning these textile skills has enhanced my understanding of product design and visual communication. I wanted the products in my store to catch the viewer's attention, so I chose a complementary palette of orange and blue to create a sense of juxtaposition in the space.

  Many artists inspire my work, but the most influential to me include Olly Moss, known for his colorful illustrations and typographic film posters, which inspired my use of bold and bright typography within my posters to guide the audience through the space; Alan Watts, a senior artist for Meow Wolf's OmegaMart and several of their exhibitions, has inspired product design and the selection of items I chose to feature such as several of the mugs in the exhibition-but what would you do with them? Can you even drink coffee in the afterlife? -; and designer April Grieman, recognized for her bold, textural, and geometric designs, which I emulated in my brand design.

  Through my work, I aspire to communicate bigger, complex ideas that encourage viewers to question their encounters, using the skills I developed at Murray State University. Ultimately, I believe that art should catalyze meaningful discourse and introspection. By challenging perceptions and inviting deeper

  engagement, I aim to create an experience that resonates on multiple levels, creating connection and understanding among diverse audiences.

  Sarina Hamilton

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  Beyond Remission

  Moira C. Johnson

  In my artistic practice, I delve into the intricate layers of childhood and medical trauma, navigating its impact on my present experiences and highlighting how the lasting effects, both physical and emotional, can be just as painful, isolating, and life-altering as the illness itself. My work merges design, branding, and personal experience by creating service posters, therapeutic products, a website, etc. for a counseling brand that supports people who have suffered from Leukemia or Lymphoma. I use colors that symbolize the illness suffered, balanced with calming tones, and bold shapes that serve as both accents and metaphors.

  Graphic design has been my way of expressing emotions by offering a creative outlet. It provides a sense of organization that feels both curing and intentional, allowing me to channel emotions in a meaningful and functional way. Beyond personal expression, graphic design also serves as a powerful tool for conveying anger, sadness, and happiness while also functioning as a means of education. Through this body of work, I aim to raise awareness of the long-term effects of cancer, using design to translate these complex experiences into visuals that inform, engage, and resonate with others. By combining thoughtful composition, color, and typography, I hope to create a dialogue that highlights the lasting impact of the illness in a visually compelling way.

  While I explore various mediums in my practice, digital art remains at the core of my work, whether through graphic design, illustration, or typography. The ability to build visual identities and communicate ideas through design is what drives my creative process. I’ve created a visual identity that includes large-format posters designed to promote key services in a clear and engaging way. Each poster features illustrations that visually communicate what the service offers, making the information both accessible and inviting. To further connect the design to the organization’s mission, I’ve incorporated droplet imagery, subtly referencing blood and, in turn, Leukemia, to add depth and symbolism to the work. I envision these posters displayed in patient waiting rooms or hallways, serving as both informative and reassuring visuals. Their goal is not just to advertise the organization’s services but to create a sense of support and accessibility for those who need it most.

  As I continue my artistic path, I find inspiration in artists like Hannah Wilke, whose personal work reflects both her own experience with breast cancer and her mother’s battle with the same disease. Her ability to use art as a means of processing trauma has influenced my own approach, though I express it through a different medium. Like Wilke, I see art as both an emotional release and a way to spark conversation. I’m also drawn to the bold, directional typography of Saul Bass and the bold, san-serif work of Michael Bierut, both of which support how I integrate text and design to create work that is both expressive and communicative. Their approaches inspire me to consider how typography can shape meaning, guide the viewer, and reinforce the emotional impact of a piece. Looking ahead, I am especially drawn to brand design, where I can shape the visual identity of a project from the ground up. The challenge of crafting a cohesive brand and seeing it come to life is both exciting and deeply fulfilling, reinforcing my passion for design as a tool for storytelling and connection.

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  Virtual Visions

  Emma Nelson

  Virtual Visions

  I have always believed art should be enjoyable for all audiences. Often when we watch a show or movie, the art and design that goes into producing them goes underlooked. Creativity doesn’t just live in a gallery, it exists in everyday life.

  When I first became interested in creating art, I immediately focused on character design and conceptual work. Watching TV shows and movies as a child inspired me to start creating my own characters with backgrounds and personalities. This in turn helped me to create their visual elements through illustration. I studied Star Wars concept artist Ralph McQuarrie’s designs, and looked at everything from environmental design to weapon and prop blueprints. Whenever I played a video game, I couldn’t look away from the menu animations and opening screens. I want to express this same creativity by illustrating character designs and animating them through my fictional company, Virtual Visions, which creates and promotes digital avatars called Vtubers.

  A Vtuber, or a virtual youtuber, is a 2D or 3D face tracked avatar that content creators use as a fictional online personality to represent themselves. Virtual Visions strives to recruit talents while providing them with high-quality character models, promote collaboration, and manage their online presence. I decided to draw and animate a fully rigged fox model, Huli, that visitors can try out themselves. Inspired by Japanese illustrator LAM’s vivid illustrations and unique Vtuber designs, I embraced a striking purple color palette with elements like ancient armor and a calm demeanor that visually represent his character.

  Lastly, I included illustrations of two other character designs who are his companions. These two, a ghost and an alien, represent the other models that vtubers can use. Each character has their own splash and promotional art including a couple illustrations of them together. They also have their own merchandise including keychains, stickers, and trading cards.

  In creating Virtual Visions, I hope to bridge the gap between illustration and innovation. Art and design is not stagnant; it is constantly evolving. This show is a testament to how art can embrace the new while maintaining tradition in a unique and fun way.

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  In Her Words

  Amber Ryan

  "Don't bite your nails - it's not ladylike." "You're too big to be in ballet class." "Hey, Thunder Thighs." The whispers I heard in classrooms at a convent girls' school, not only from students but also from my teachers, would eventually crush anybody. This was the same school all the women in my family attended for generations, and the judgment instilled came down through the family. It only got worse as the years went on. Trust should be an inherent part of family and friendship, but time and again, the trust I believed to have built up with my women friends was betrayed. I bought into the system. Even having moved schools and having gone to college, the same games were played, and the betrayal of trust continued. Instead of standing together, we pit ourselves against each other. We allow ourselves to put other women down in order to make ourselves feel better. I am not immune to this impulse, but I hope to examine its sources and effects on myself and others in this work.

  This body of work considers the inherent sexism women hold, shown by how we treat the women around us. These are words many of us hear throughout our lives, and not from the men we expect to hear them from, but rather from the women who are meant to love, guide, and walk with us. Our friends, mothers, grandmothers, and, in my case, great-grandmothers. I have combined my great-grandmother, Eileen’s, handwriting, taken from high-resolution scans of her phone book, fine metal hollow-form construction, glass enamel, and digital fabrication to bring her words to life. Each work examines the path I have taken and how my choices have come to shape my life. It helps me better understand my place in this world and what I have come to know as my truth.

  The work of Cynthia Myron uses constructed spaces to open a dialogue between viewers, revealing shared memories. While Myron’s work contemplates physically constructed spaces, mine talks about those we have created as a society - walls built that we need to work to bring down together. Lauren Selden’s metalwork, often an object set atop a hollow-form base, juxtaposes geometric shapes with organic castings and fabricated parts, creating balance. Like my own work, hers incorporates geometric patterns on surfaces and integrates shadow, adding a visual and conceptual layer. Her practice encompasses both the hand and technology to explore her memories, as does my own.

  My artwork aims to push the limits of materiality with the help of technology, creating works that actively engage my audience. Soft floral motifs, rigid structure, and strong lines underpin much of my process, contrasting each other, almost mirroring the battle between my own internalized sexism and the feminist I hope to be. It is not fair that this system of inherent sexism failed me and many other women. I hope that we can find some sense of justice by unveiling some of the words that impacted me most, but made me the woman that I am today, and not a woman in her words.

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  Starry Station

  Avery Wilson

  We all long for experiences that make us feel more alive. I strive to make artwork that conveys a sense of wonder and provides happiness as an escape from the mundane. Nature, traveling, and day-trips to theme parks are big influences in my artwork. They have a way of helping me realize the greater picture in life and give me a small escape from reality. Theme parks appeal to me because of the way they make me feel as if I’m in a new world for the day. For my BFA show, I incorporated all of these ideas by designing my own theme park, Starry Station, revolving around different environments across the globe. This show involves an animation and fun illustrations to bring a piece of the theme park to the gallery for people to enjoy.

  The Starry Station Exhibition features several different areas of design, including illustration, ux/ui, branding, and animation. I created a fun but clean branding system with a blue logo and bold typography. The ride illustrations have a lot of bold colors and texture to bring the spaces to life, and the park mascots are designed to be friendly and silly. For example, the Panther Prey ride illustration shows an indoor boat ride with glowing plant life and glowing water. The mascots are drawn to be friendly and silly; for instance, the penguin Tux is drawn with thick outlines and large features to be round and goofy. The mural illustration was a way to tie all of the textures from the illustrations and lovable mascots into one ginormous piece to convey the size of this project as a whole.

  The colors, textures, and subject matter that I used in my pieces were influenced by nature and my love for travel, but I also looked to other artists for inspiration. One current artist that inspired my work for Starry Station is Kristen De Palma. I loved her color palettes that are tropical, floral, and even some of the more muted ones. Her hand lettering influenced my typography choice for the Starry Station logo. The way she draws flowers and plants also inspired some of the plant-life in the ride POV illustrations. Deborah Sussman, a designer that specializes in environmental design is a big role model. Her work for Disney World advertising and wayfinding has been a big inspiration for Starry Station and influenced the park map and mobile app. Among other artists, Oliver Sin has a playful way of animating characters and environments that I incorporated into my ride safety animation. I aspire to be an inspirational artist like them someday.

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  In Search of Meaning

  Cole W. Wyatt and Cole Warren Wyatt

  All of my work serves; the bowl and box are used to contain and have direct interaction with the hand of the individual, connecting the artist to the user. They are all made by a fallible person but within them is the desire for infallibility. Subtle discrepancies will be found between a brief change of angle in a pot or an unevenness in an otherwise flat surface. We can't attain perfection but that is no reason not to strive for it.

  My paintings serve in a different way, expressing life, a scene and a narrative, through vision rather than touch. The strokes are heavily blended and flow between naturalistic and gestural, borrowing much from the works of Chen Yanning. Influenced by the Vanitas painters of the Baroque Period, my paintings point out symbolically that pleasures and works of this earth may be fleeting compared to what awaits in the next life, but that is no reason to forego them. Rather, engage in all the wonders of this world in a spiritually fulfilling manner. Anything may emit holy light or may dampen it depending on how it’s gone about.

  There are aspects of symbolism in my ceramics and woodworking as well. Both deal with ideal or satisfying angles and curves derived from natural phenomena such as fractals and Fibonacci spirals. Wood exhibits order via pattern in its grain but simultaneously is never wholly consistent. There is always a bit of chaos that ripples through a board. Those alterations in grain are not to be cast aside however, integrating them into the piece elevates the whole. I find great inspiration from the work of Silas Kopf in this regard, in his intricate yet simple patterns and designs. In ceramics, the most ideal arrangement of angles and curves is achieved, laying down a base of order while allowing the glaze to display chaotic fractals and crystal formations across the form, echoing but never repeating the same on any vessel. Much like Florian Gadsby’s work, the vessels initial production, which is angular and even architectural, is complemented by an organic glaze that is fundamentally representative of nature.

  Everything material comes from nature. It's important that my work reflects that, both symbolically in my paintings and in the more abstract ways shared between my ceramics and woodworking. I bring together my ideal in art in that good works are a marriage between the material and the spirit through nature.

  I wish for people to experience this in my exhibit by being integrated into a living still life of my works. This installation is a space that reflects where one may put their time, the worldly beauty of the object, the spiritual nature of its meaning, or an appreciation of both. It asks the question: your candle is burning, and it will go out, but what are you going to shine on in the meantime?

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  9th Life Cat Café

  Bethany Burbage

  The 9th Life Cat Café is a cat-themed café based in Queens, New York. Featuring an app prototype with mobile ordering, four large-scale branding concept illustrations, social media ad campaigns, and a large-scale menu, the 9th Life Cat Café is sure to capture your attention with its attentiveness to detail and delicious treats. The color palette and logo are both inspired by a calico cat, which is a breed that is viewed as “good luck” in many cultures. The 9th Life Cat Café also features examples of cats that would be available in shelters to encourage cat adoption from shelters.

  I view design as a feast for the eyes, leaving viewers hungry for more knowledge and inspiration. I enjoy bringing food into my designs and illustrations because everyone can relate in some way. Incorporating elements of food into my illustrations mirrors the joy and satisfaction found in culinary creations, as each bold color, shape, and texture resonates with the same sensory experience as a well-crafted dish. Through my work, I aim to evoke not only visual satisfaction but also deeper emotional connections, tapping into the universal experience of eating. I wanted to find a way to combine my interests in food illustration and cat adoption, so I chose a cat café to seamlessly merge the two ideas together. In my designs, vibrant colors and enticing textures bring to life the atmosphere of a cozy café, while playful cats add a touch of whimsy and charm.

  My work centers around branding, illustration, and UI design to create playful and dynamic designs. Drawing upon my past experiences, I've meticulously crafted the café's logo, iconography, and typography to reflect its fun and cozy atmosphere. My illustration technique is drawn from how I create paintings. I start with a sketch, then I begin blocking colors in and painting over top to render each object, using my stylus like a paintbrush with different hand pressures. The process mostly consists of layering and blending until you've reached the layer limit. In paintings, I often use pinks and purples in the shading of objects and figures. I have translated that into my illustrations, using purple on a multiply layer to create more interesting shadows. I favor illustration and user interface design because I love to pay close attention to detail and create immersive experiences. The prototype for 9th Life Cat Café uses elements and techniques that are similar to my other pieces but allow for a more interactive experience with its mobile ordering features.

  I draw a lot of inspiration from artists like Ross Tran, Vivienne Medrano, and Studio Ghibli, taking note of their use of color, lighting and shadow, and different drawing styles. Studio Ghibli's immersive realism and lush environments influence my aim for a blend of realism and magic in my illustrations. Vivienne Medrano's dynamic lighting and bold colors, along with Ross Tran's detailed and painterly style, inspire my lighting and composition techniques. My food illustrations are inspired by Alai Ganuza, a contemporary oil painter. The different shades of teal and purple in her works always makes me come back for more, and I love how she uses texture and lighting in things such as berries and glass. The approach of different elements of design and illustration by these artists have helped pave the path for me to find my own style of illustration and design, which I have implemented into the work shown in the 9th Life Cat Café.

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  Sebastian

  Sebastian Byars

  The name "Sebastian" reflects my journey and process throughout my show. Growing up in small-town Paris, TN, my passion for fashion felt out of place. During college, I faced mental health struggles, and thrifting became my escape, sparking a love for clothing history. I now enjoy sewing and reworking both modern and vintage pieces, focusing on creativity and discovery over intention. Often, I ask myself, “What can I create from what I already have or want to discover?”

  My work combines model and product photography, sculptural garment displays, and branding rooted in my work. Blending workwear with editorial aesthetics, I aim for a cohesive look that highlights texture and grunge, capturing the feel of small-town Paris, TN. Using orange as my brand color honors the Tennessee Volunteers and the working-class spirit I am surrounded by daily.

  Kanye West is a major source of inspiration for me. While he is not a graphic designer or hands-on clothing maker, I admire his vision for Yeezy. His photo-heavy, minimal-typography style, especially seen in the 2017 Calabasas collection, has strongly influenced my design choices for this show.

  Virgil Abloh is another designer I admire. Originally a civil engineering and architecture major, he shifted from building structures to shaping fashion, showing that even if you are deep in one field, there are countless ways to blend new media with your current skills. His journey reminds me of the value of stepping out of your comfort zone and combining the familiar with the fresh.

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  The Table

  Abigayle Cothran

  After my mother passed away last year, I found myself drawn to old family photos. I became fascinated by how things had changed over time. With everything in my own life changing so much, I began searching for something that had stayed the same, something that could connect me to her. As I looked through the photos, I saw changes everywhere—people, homes, cities—but then I began to notice a dining room table. It appeared in many of the pictures, always in a different room, but often with one or both of my parents sitting at it, and new family members appearing over the years. As a child I learned to paint at that table in the basement of my childhood home, and now the same table sits in my dining room here in Murray, decades later. This table has been a constant symbol of connection in our lives for nearly 5 decades. An old table wouldn’t have seemed special to me before, but now it brings me comfort and peace, a small but meaningful link to the past.

  I focus on capturing the details and accuracy of each moment I paint, paying close attention to the subtle nuances that define the scene. My large paintings revolve around candid family moments shared around the table over the years. Each painting reflects a meaningful memory, making the time spent carefully studying and recreating every detail essential. In these oil paintings, I use vibrant colors and subtle shifts in tone to create a scene that feels naturalistic. Like Jeremy Lipking, my work uses refined levels of detail while leaving other areas vague and painterly. I also create small oil paintings that focus on studies of the table, capturing detailed, zoomed-in views of the table and chairs. While each painting is an accurate depiction of the subject, they are approached with an abstract style. The compositions emphasize texture, light, color, and form over strict realism. The textures, especially those of the wood, are inspired by Josephine Halvorson’s ability to capture the nuances of surfaces. The result is a blend of observation and interpretation, where the familiar shapes of the table and chairs invite the viewer to see the everyday in a more abstracted way.

  This series of paintings maps the transformation of my family and our environments across 4 decades from the steadfast perspective of a dining room table. My work is inspired by my mother, but is also about my dad and the family they made, starting in 1990 all the way through 2024. Through this series, I encourage my audience to consider the constant symbols of connection within their own lives and to reflect on the objects or places that have quietly witnessed their stories. By focusing on a single, enduring object, I highlight how even the simplest items can carry immense personal meaning, bridging generations and preserving shared memories.

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  Self-ish

  Christine Cox

  Sonder is the realization that every stranger and passerby has a life and experience that is just as complex and vivid as your own. The elderly person beside you on the bus, the couple in the restaurant, the children on the playgrounds, we are all alive for the first time. A concept that seems obvious, but when the time is taken to truly understand it, you also begin to understand humanity as a whole. Every person desires to see the good in the world, and we often turn to grand gestures of hope and stories of human resilience, but we often forget to observe the blessing of humanity that passes by us every day, on the bus, in the restaurant, and on the playgrounds. Selfish is an homage to this phenomenon, and a thank you note to all of the strangers and passers-by in my own life who have helped me understand the simple beauty of being alive, and an acknowledgement of their effect on myself as an individual by selfishly living their own truth, just as I am with mine.

  I find that my concepts are most accurately represented in a muted grayscale with the occasional bold singular color to add contrast, with the majority of my pieces consisting of charcoal, both pencils and loose. I regularly push the size of the work to create three-dimensional installations or experiences of surrealist depictions of myself or other human figures, distorted in a way that emphasizes how a mental struggle may manifest itself physically. This often results in realistic depictions of gore, or other morbid concepts related to the subject matter. My works are self-portraits, not solely because I am drawing my physical body, but rather an expression of my experiences, ones that I hope viewers can place themselves within. Self-ish if you will.

  Throughout my time creating these works, I have been captivated by artists such as the illustrator Caroline Harrison and visual artist Catherine Chalmers. Both artists have an immaculate attention to detail, and a style that demands it at every point on the canvas. I replicate this level of craftsmanship as well as the amount of information presented on one artwork at a time. The dark, dreary environment they are able to create evokes a deeply visceral and emotional response I strive to achieve in my own artwork. These artists—in this twisted way—inspired me to depict mental health struggles with very physical and gut-wrenching depictions of gruesome scenarios, while allowing the craftsmanship of my pieces render them “beautiful”, thus creating an interesting juxtaposition for the audience. Most notably, the inclusion of insects as an homage to the natural world is often a more direct way to incorporate “beauty” into any one of my artworks. It allows for an easy connection and understandable motifs to allow my own artistic message to be easily digestible while remaining a supporting role in the overall artwork.

  “The human experience is what is really at the heart of all my work.”

  My hope is for the viewers of my show to feel seen in not only perhaps the uneasy experiences they have gone through, but also a realization of their effect on others simply by being alive. The works I make are uncomfortable, dark, and perhaps disgusting to some; but I feel they also exude comfort, for there is an innate human desire to express this hurt where others can witness and understand a situation where it is easy to feel alone. Human experience is never performed alone.

  I believe the ability to share knowledge, compassion, empathy, and understanding regarding experiencing painful circumstances and creating a shared level of consciousness is the paramount principle within the agonizingly beautiful human experience.

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  Fabula Mea

  Lindsey Duncan and Lindsey Duncan

  Through digital illustration, I intertwine my personal traumatic experiences with stories from both Greco-Roman and Norse mythology as a means to process and heal. My exhibition, titled Fabula Mea (which is Latin for “my myth”) aims to highlight the effects of abuse, and how I have taken steps to overcome my past experiences.

  Myths and folklore have been a special interest of mine for as long as I can remember, specifically of those I have a cultural connection to. These mythologies are laden with tales of struggle with a paternal figure, which is another reason I resonated with these stories. I use these retellings of history as a means of reclaiming my history, to make my own mythology of sorts.

  The illustrations featured within my exhibition combine both mythology and my past, in somewhat abstract ways. It may not be inherently clear on what sort of myth the work is based on or how certain works and imagery relate to my past experiences. This abstraction of the concepts and ideas within my work pushes the viewer in my story, making them dig deeper into the narrative in order to piece together the meaning. Considering the topics I focus on are quite intimate and emotional, I find that having my work be more obscure adds to the viewer’s connection, allowing their own emotions and experiences to be brought up and entwined to the work.

  Though I work in digital illustration, I draw a lot of my inspiration from painters, such as Hugh Steers. In his works, he uses subject matter and composition in a way I find quite interesting. Though not overly grotesque, the vulnerability and emotion he conveys is something that I do within my own work. His paintings feature heavy subjects such as sorrow and loss, which may or may not be perceived upon first glance. This level of intrigue and interaction is something that I embody within my own works, like in my Narcissus illustration. Though it is more gorey than Steers’s work, the piece is about self-sacrifice, and often having to give myself up in order to maintain perfection. I wanted this piece to have more intense imagery, but still represent the loss of one’s identity in a way that is not blatantly obvious.

  I also look at the work of Meredith Marsone. Though her work is very figure-heavy, I find that her use of texture and color are used in a way that compliments her work in a very unique way. She uses it in a way that marries the foreground and background, and sometimes even makes it look as if the figure and background are conjoined in a way. Marsone’s works also tend to lean into more melancholic and pensive imagery, but does it in a way that seems more intimate than Steers’s work. Marsone makes the viewer focus on the subject and its abstract surroundings, and doesn’t give us as much information to base our interpretation on. I find this emphasis on the subject really interesting, and is something I do within my own works to keep the viewer engaged.

  While each illustration has its own story behind it, this exhibition is meant to serve as a form of healing and processing. This show has been nearly a lifetime in the making, and has had its moments full of grief, anger, confusion, and sadness. Though these emotions feel all-consuming at some points, I strive to not let its roots take hold. This exhibition is proof of that; proof that I can overcome that which aims to control me.

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  Maxwell Place

  Leo Fischer

  Leo Fischer

  Artist Statement SP24

  Last summer, as I was packing my things to move, I found a stack of family photo albums in the attic. I spent hours sitting on the floor of my bedroom going through every single photograph. Many of my memories from the first decade of my life are foggy, as losing a parent at a young age is difficult, and blocking out unpleasant memories is an unconscious, yet common way to cope. There were some things I didn’t recall at all until I was holding pictures of them in my hands. Maxwell Place is a collection of work based on the nostalgia I hold around my childhood. These hazy memories and missing pieces of my childhood inspired me to create a series of prints dedicated to the things I can't quite remember clearly.

  I use my screenprints to allow the viewer to see my memories in the same way I do. Screen printing allows me to incorporate my graphic design work as well as photographic and hand drawn elements into my pieces to create a narrative of my memories. To express these concepts in my pieces I play with opacity, layering, and abstract textures. I enjoy color blocking figures or backgrounds in my pieces, overlaying multiple images with varying transparencies, and incorporating handwritten typography into my pieces.

  Recently I’ve been finding inspiration from Hollis Brown Thornton, a painter and printmaker who works with concepts of morality by using old photos and personal objects in a pigment transfer process. Another one of my inspirations is Geloy Concepcion, a photographer who works with color blocking and text in his photos. Seeing their works influenced me to use hand written text in my prints and gave me the idea to use puff ink to add more texture to my pieces. Printing in non-traditional ways allows me to explore my concept in ways I hadn’t discovered before. Printing on pillows, lamp shades, and furniture allows me to create an immersive view into my memories by allowing the visitor to experience a recreation of my childhood living room.

  This exhibition is not only a narrative of my childhood, but a narrative of who I am now as an adult. Through my prints and installations I aspire to reach an audience that not only identifies with my art but also interprets it in their own unique ways. I hope the memories that I share with others remind them of their own forgotten memories.

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  Springlot, USA

  Benson Greenwell

  Utilizing digital media, I design work that embraces the humor and playfulness found even in the darkest of situations and environments. The humor expresses liveliness and absurdity — reminiscent of my childhood — but is reinforced by a mature perspective. It is through designing art that I can explore my witty and sensitive side. My artistic purpose is to put a smile on people’s faces.

  This exhibition introduces the fictional town of Springlot, USA, The town acts as a central melting pot for many different tourist traps. The exhibition is inspired by a trip to South Dakota I took with friends back in 2020, particularly the iconic Wall Drug billboards along I-90. My friends and I saw so many that we just had to see what all the hype was about. We were definitely tourist trapped looking back on it.

  I believe that tourism branding is fundamentally different than commercial branding because tourist traps break all the rules of design so long as it gets people to the door. These brochure layouts adhere to the principles of design while also representing these traps in a amusing light. Each brochure on the rack was approached stylistically different. It is my hope that Springlot, USA cracks a smile on viewers faces and maybe the road will lead them there someday.

  My inspirations are David Hockney’s bold use of color and shapes to design multilayered layouts. Illustrator Kazuma Kaneko’s application of rhythm, sharp outlines, and grim aesthetics developed during his time in the video game industry made me consider narrative importance in my work. After reflecting upon this, I treat all of my design work like a pop-up storybook, telling stories with a dimensional and comical perspective.

  While my design work is primarily digital, I find that skills I have learned outside the computer have helped my graphic design work. Taking painting classes helped me better understand texture and color theory. Taking marketing courses helped me understand designing for an audience and brand consistency. These skills allow me to visualize work with more depth while also balancing the characteristics that make my work my own.

  The nature of my work is taking the ordinary — such as an informative brochure design — and making it extraordinary by playfully altering the layout and typography. When starting my work, I’ll look at the references I work from and take small details such as people and places and develop a comical narrative around them. Thinking of underlying narratives sometimes helps me when developing concepts for a piece. These narratives helped to lay the foundation for Springlot, USA.

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  It's An Honor to be in Your Presence

  Wesley Hammer

  Art is a language— a form of communication. It is a way of explaining yourself, exploring how you view the world, what you find important, and how you feel about these experiences. For as long as I can remember, art has been an outlet for me to express my own lived experiences. Art allows me to visually process the thoughts and emotions that we experience through everyday living. Creating art is baring the soul, and with art being a visual medium, it allows for an understanding that goes beyond words. We as human beings exist in a complexity. We are all so similar in our behaviors yet we are so uniquely ourselves.The bond human beings share is one like no other within this complexity. We rely on each other, we relate to each other, and we love each other. I reflect this relationship through art. To love art is to relate to it, so then we may rely on it. One of the biggest influences in my work is my transgender identity. As a non-binary person, I am very aware of how others perceive me and my body. I have gotten very good at identifying if others view me as a male or as a female, and how my identity changes based on others’ perceptions of me. Oftentimes I have to play into those perceived genders to keep myself safe. This awareness of my perceptions can be seen through the inclusion of my body in my works. There are two aspects that make up humans, the mind/soul and the body. Oftentimes it is easier to identify others simply as their body. These are not two different things, in fact they are one in the same. You are the body you inhabit. By creating art that portrays the figure, I connect the body and the soul. The works of Egon Schiele and Jenny Saville are also great influences on my works. These two artists have such an extreme understanding of the human body that it allows them to push what the figure looks like into abstraction. In regards to Schiele, I find myself drawn to the works where he depicts skinny figures with exaggerated bones. Along with his textured application of color, he is able to create borderline grotesque works that explore human nature as well as sexuality. In a similar way, Saville’s works also come across as graphic. Specifically, her influence in my work comes from the way she paints skin. She is able to create an accurate depiction of flesh while also abstracting it to create an overwhelming presence in her works. With these two influences, I deepen my understanding of the concepts of human perception as well as individualistic change. Through the use of oil paints, addressing and accepting these changes becomes easy. With the slow drying oil paints, it’s important to understand when a piece no longer requires constant manipulation. I spend long periods of time with each piece, forming a relationship with them. This relationship is formed through the layers of paint that are built up onto fabrics I use as my canvas. Through this process, I give life to my works, allowing them to exist and have a presence. This relationship can be reflected onto the viewer. You are a body who has a presence, you are allowed to take up space and you are allowed to exist. To be is to be perceived. In order to connect with each other, we must be willing to understand each other. We will never be able to completely understand one another because of differing perceptions, but we must keep trying. Through art and communication, I can understand myself, others, the world, and the experiences we share. I do not make art alone, and I do not live alone, for I am the company I keep.

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  Tails of Adventure

  Samantha Lam

  In the whimsical world of Tails of Adventure, an unlikely trio — a kind-hearted fox, goofy alligator, and angry rat — invites you to embark on an exciting journey with them. Starting the adventure from Meadow Mound, it's an interactive story where many things go awry. Tails of Adventure is a playful, lighthearted brand that invites you to escape into a world where every day is a new adventure.

  Through my artwork, I aim to offer a distraction from life's burdens through branding and illustration, focusing on the importance of making people smile. Branding allows me to craft a memorable first impression, while illustration adds personality that words alone can not convey. Combining these elements, I have created mascots that are charmingly simple and cute yet endearingly weird, connecting with the audience through their unique stories and personalities. I believe art does not always need to be complex — it can simply exist to bring joy. Tails of Adventure is built on playful typography, nature-inspired elements, and eye-catching illustrations that bring the adventures to life. I aim to spark joy and connection by inviting people into the world of these beloved characters through immersive, relatable storytelling.

  To make the experience more immersive, I designed interactive elements like collectible stamps, allowing people to follow along with each adventure and mark their progress. The characters come to life through large cutouts, making it feel as though the adventure gang is right there, sharing the journey with you. The fun extends beyond the stories themselves, with merchandise like stickers, activity sheets, and art prints that allow fans to take a piece of the adventure home. By designing and offering these items, I have created a little shop that lets the audience further interact and engage with my pieces.

  When creating my work, I’m inspired by various animation companies, such as Studio Ghibli, who make magical lush landscape illustrations with dynamic compositions. Like the Pokémon Company, it’s fun to extend characters' charm into branding and merchandise, offering fans the opportunity to take home a piece of the experience. Additionally, Usagyuuun, a Japanese mascot I adore, is a character that has become its own brand identity through its odd yet charming depictions and interactions, something I draw from while making my work stand out with its abundance of personality. These influences drive my vision for Tails of Adventure, as I build a world full of whimsy, joy, and everyday adventures.

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  Breaking Borders

  Savannah Leach and Savannah Paige Leach

  My exhibition, Breaking Borders, explores identity, belonging, and the complexities of adoption through various artworks. As a Korean adoptee, I seek to share my struggles and offer diverse perspectives that challenge stereotypes in the adoptee community. I hope to connect with others and confront misconceptions about adoption through showcasing my personal stories.

  My collection of illustrations reflects my personal journey as a Korean adoptee through an abstract lens. I opted for a minimalistic illustration style to highlight the themes rather than the aesthetics. I developed a set of posters that resemble those used to promote social awareness. These reinforce the two informative booklets by being reminiscent of informational posters even while only posing questions. The wall of adoptees seeking to reconnect with their families aims to replicate the inexpensive and overlooked style of missing person flyers. This element unites the exhibit by mimicking the desire to draw attention and the desperation that adoptees often feel while trying to reconnect with their loved ones. The exhibition's use of South Korea's national colors, red and blue, serves as an eye-catching focal point that represents the country's heritage.

  As a Korean adoptee, I draw inspiration from fellow adoptees like Meg O'Shea and Megan Rye. Their work, which explores the complex aspects of adoption and identity, has inspired me to create flyers and collages that convey a similar sense of longing and search for self. Through my writing and exhibitions, I hope to provide a platform for the adoptee community to share their voices and gain a deeper understanding of their inner selves. Despite the challenges, I am determined to forge my own unique identity and resist being reduced to a mere number in the Korean adoption system.

  “Your openness to embrace my experience embodies empathy, understanding, and a shared humanity. Your engagement as a viewer affirms the importance of each word, emotion, and revelation in these pages. Together, we can transcend barriers of distance and difference, uniting in the universal pursuit of belonging.”

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  Oh My Stars

  Abbi Moore

  I am of the opinion that everyone judges a book by its cover. Why else would books have covers? Visuals are the ultimate first impression. This concept has interested me for a long time. In my work, I try to make the viewer pay attention to information that might otherwise be overlooked by building a connection with the audience when words are the only thing to work with. This is where my love and appreciation of graphic design came from. The idea of organizing art is an interesting concept in itself, but seeing how effective it is when it's carried out well sparked passion. This is why I started designing, but seeing how my work has grown and evolved over time is why I keep designing.

  The combination of styles across generations with a modern twist is something that I really enjoy not only seeing but implementing into work. Selecting effective elements from the older styles is a fun challenge. This has made me reconsider the process of creating work, as much as the result. While researching the aesthetics of the 1950s the typography of Hanna Barbera in the title sequences of shows such as “Bewitched” has been inspiring. These sequences are very stylized and memorable. It feels as though their letters are dynamic and have personality rather than being static characters. When working on a computer it can be hard to get the effect of their hand drawn cells, but by manually building each word I’ve achieved the look of the style being emulated. Another artist that has been very influential has been William T. Hurtz. His combination of line work and color blocking to create a sort of offset look in his work such as “Gerald McBoing Boing” and especially in “A Unicorn in the Garden” inspired me. It is through both of these artists that the logo for a new coffee shop, Oh My Stars, came to be. This can be seen through the typography reminiscent of a sitcom intro as well as the offset design of the moon.

  The aesthetic of the coffee shop is fundamental to the viewer’s experience and creates an opportunity for the audience to be immersed in the environment. Oh My Stars is a coffee shop first and foremost and should therefore have collateral to support this. This includes a uniform for a barista, coffee sleeves, as well as bigger environmental details such as the hours posted and open/closed signage that would typically be seen in a shop. By supporting the design with items such as a booth, reupholstered to match the branding, or something as simple as punch card, Oh My Stars becomes a place the audience can occupy and engage in.

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  Clattergag

  Jamie Myres

  Clattergag is an immersive, interactive installation that breaks the white-wall gallery confines to explore childhood nostalgia and whimsy. Fun is the goal. Playing dress up with half a mannequin, or laying in a giant burger are activities you wouldn't usually find in a stuffy gallery. As the viewer interacts with each piece, I want them to sit with their nostalgia and wonder why it is that kids pretend to be adults.

  Nostalgia and adulthood are so intermingled, yet the mere presence of one means an absence of the other. Children yearn to be adults, yet it's taboo for an adult to keep their childlike wonder and interests. I use saturated colors, nostalgic imagery, clever concepts and, most importantly, humor to invoke a positive feeling in my audience. I want them to walk away with a memorable experience, so memorable they tell their friends and laugh together as a result of something I made.

  Clattergag is incredibly immersive. The gallery atmosphere changes when entering the space. The vertical space is filled with draped fabric to feel as though you are entering a fort, and handmade rugs to cover the gallery floor and add a more plush homey feel. Throughout the show, I use a lot of childrens craft supplies – googly eyes, pom poms, pipe cleaners, beads – to create the feel of an elementary art class or school project. The bright, saturated primary colors replicate the decor of a preschool classroom, or a children’s toy. I use a lot of textures within the show that you just can't help but touch, in an attempt to draw in the audience to interact with the show. So go ahead and put your grubby little fingers all over everything, I know you want to!

  My inspirations come from a number of places. Claes Oldenburg’s larger than life sculptures allow the viewer to take in the absurdity of everyday items at an impractical scale. The viewer can take this at face value or consider a deeper meaning. Digital artist Sam Lyon puts realistic, creepy human anatomy on everyday items, giving his work an unsettling appearance. The disturbingness is incredibly captivating for weirdos like me. Yayoi Kusama creates an intricate, immersive experience simply by covering a whole space with polka dots. The idea of transforming an entire atmosphere is incredibly intriguing to me. These artists inspire me to push the boundaries of what I know, and create to the best of my ability.

  For as long as I can remember, I have found safety in humor. Everyone loves to laugh, and they love people that can make them laugh consistently. It was a quality that came naturally to me, and one I didn't realize I had until much later. It is a part of me, just how it is a part of everything I make no matter how hard I try to be serious. My brain is constantly a chaotic battlefield, with so much going on it often feels like there is nothing going on at all. It feels like there is always a new diagnosis, a new medication, and a new problem to fix. With my art I want other people like me to be able to take off their armor, lace up their clown shoes, and just have fun.

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  Transcendence

  CJ Nance

  Have you ever experienced hate from those you love the most? From those in the media you admire? Hatred that tells you that your existence should not be allowed? This is my daily experience as a transgender man. Being transgender has given me experiences that I love and experiences that I would never wish upon my worst enemy. Unfortunately, coming out and being out is dangerous for my community, and many transgender people choose to stay hidden. As an artist, I focus on gender identity and transformation that aims to provide courage to other transgender individuals so that they too can become their authentic selves.

  Creating prints is a way to process my transformation while advocating for the transgender community. The graphic quality of screen printing works in conjunction with my figure and object-driven images. The prints are realistic and illustrative with line quality that is essential to my work. By using these elements as well as bold, bright colors, I emphasize the shapes and textures of the subject.

  Along with screen printing, embroidery is a technique that is implemented in my pieces. The patches of embroidery floss make certain areas of the image more distinctive than the others. It is used to highlight the parts of the body that are changing or being changed deliberately by the transgender person. This is to bring awareness to transgender people and what we go through, so that others can further understand who we are and not jump to conclusions when it comes to our bodies.

  Cathrine Opie uses lots of symbolism in their work as a queer person to show what others might be afraid to let those outside the community see. My community frequently uses symbolism as a more appealing way to show the harsh reality that comes with being ourselves. Because of this, I use symbolism as a powerful tool to talk about how being transgender is not all happiness. Being publicly out is harsh and not for the faint of heart. Despite this, those that came before me have inspired and encouraged hundreds of people to accept their identities. I hope my work can do the same.

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  Buried Treasure

  Maggie Quertermous

  One of my most cherished dreams as a child was to have a dog. This past year I was able to adopt a four legged friend that forever changed my life for the better. When walking into that shelter, I immediately wanted to take her home and away from that sad interior. Being able to rescue a dog that I so deeply connected with was something indescribable, but it was sad for the ones left behind. From that experience sprang the idea of Buried Treasure. A bright, exciting place that is full of possibilities for both dogs and people.

  Brand design is creating a voice for a company without having to say a word. It has the ability to bring a community together just by existing. My designs are made to be colorful and unique that stand out in a world of bland advertisements while enhancing a business’ purpose. Organic shapes, unique color pallet, playful typography, and layout help to create a unique identity through branding. This was considered when designing Buried Treasure Shelter and Store. Over all, dogs are happy creatures, full of love and playfulness. But often, shelters are dark and depressing spaces that do not embody the feeling that one can get with a canine companion. Everyone needs an animal in their life to enrich it but choosing the right one can be difficult, especially when the shelter has muted colors, and a depressing interior. By designing a bright and fun business system for Buried Treasure, it brings excitement within the building, helping prospective dog owners envision the joys of adopting a dog.

  Buried Treasure Shelter and Store envisions a dog shelter and pet store that stocks everything that a prospective owner would need to bring their new furry friend home. Within the store, the products, posters, and signage are designed to enhance excitement about bringing a dog home while the materials within the shelter provide the information needed to know about their current residents, and what to expect after bringing them home.

  While designing the products and packages, Robot Food inspired more vibrant uses of color and unique designs, full of color with loud typography to help create a fun and welcoming environment. William Wegman's use of his own dogs within his photography provides personal touch and the unique ability to capture every canine’s unique personality. Jessica Jones’ designs use bold patterns and a fun, engaging design while bold typography helps to create a sense of urgency to the work. All three designers show excellence in fun, colorful design, something that I incorporate into my work by using clear and unique fonts, a cohesive color palette, and playful shapes that communicate a warm feeling to remind people how life is better by being the guardian of a shelter animal.

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  Phylum Phantasma

  Hannah Robards

  In my work, I explore how comfort can be found in discomfort and harrowing situations and how we seek shelter in the world around us. My art takes the form of a ceramic world that is devoid of human life and explores the habitats of various unique creatures and species. My work evokes the feeling of searching for a sense of belonging and how this search can be a complicated one, filled with a variety of different relationships, including beneficial, parasitical, and more. These relationships are present in my ceramic creatures and exemplify the complexity of interaction within our species.

  I utilize blistered and gooey textures along with biomorphic forms in order to push my idea of eccentric creatures residing in another world. The incorporation of fiber elements evokes moss, mold or ground and helps define and deepen the environments the creatures inhabit. My work allows the viewers to immerse themselves in this other-worldy environment and possibly find themselves relating to the creatures and the relationships they are involved in. I hope the viewers will come away with a feeling of intrigue in the world around them and an appreciation for the people and relationships they find comfort in.

  Cynthia Consentino and Kathy Ruttenberg are two contemporary artists whose work is influential to my own. Consentino’s work focuses on manipulating familiar objects in life, molding them into a completely new set of imagery that sheds light on humanity and identity and how these relate to animalistic/natural ideals. Her work is inspired by mythology, religious imagery, and fairy tales.. Ruttenberg is also primarily a ceramicist but works in other media such as painting and animation. Her works focus on telling a story using humanoid mythical creatures that invoke a sense of wariness in the viewer. A lot of her works feature crossovers between human and animals/natural elements, which is a theme I explore in my own art.

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  Growth in Light

  Eve Sexton

  Nature has always been a source of inspiration; something about an environment which tends to be overlooked. Surrounded by or gazing upon landscapes is a reminder to engage with the present moment and the individuals I share those moments with as well. That practice of observation, of regarding any moment in life as something worth being inspired by, fuels my work. Reflecting about natural cycles can give one a more outward-thinking approach to life and connection. An organic ecosystem is a cycle of dying and rebirthing when the time is right. This applies itself into the lives of people as well. In my work, I explore these relationships and how memory- a very human concept- can enforce and impact these connections. My memories of people in places where they might no longer be able to inhabit are the scenes of these paintings.

  I layer oil paint as working in layers helps to portray this immersion of figure and nature, and it is easy to blend oil paint in ways so any brushstrokes look natural themselves when pieced together. By actually painting a figure over a landscape, the two can be coherently connected visually. Pieces like “Rudbeckia” and “Quercus” show how this connection takes moments of casual observation and creates something new. I take formal aspects of contrast to bring out these moments of immersion; the way light casts shadows or the way leaves glow when illuminated from behind, like in much of my studies of landscapes. These moments of observation in my paintings can provide a moment of introspection for the viewer. Artists that use oil paint, like Heather Horton with her subject matter that relates to nature and connectedness between others are big sources of inspiration.

  The smaller pieces are studies done in southern France in the summer of 2024. During this time, I challenged the way I previously thought about the way color interacts with light. I was able to hone my abilities of developing rich shadows and bright highlights during these plein air works. These skills of depicting light and shadow and rich colors in a landscape then wove themselves into my more recent work. I was able to more accurately express that introspectiveness through observation that is found so readily available in nature. The themes expressed throughout these works showcase how I view the world around me, and are themes other individuals can find inspiration in.